Teaching Postcolonial Crime Fiction:
- Authors: Naidu, Samantha
- Date: 2018
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/158013 , vital:40139 , ISBN 978-3-319-90608-9
- Description: This chapter is a survey of teaching crime fiction in postcolonial South Africa. After offering a definition and historicisation of postcolonial crime fiction in general, the survey focuses on my third-year undergraduate course, ‘Sleuthing the State: South African Crime and Detective Fiction’. The survey includes a description of the curriculum content, teaching methods, forms of assessment and student evaluation. The chapter also contains theoretical discussion about the practical and ethical implications of teaching crime fiction in a turbulent and transitional socio-political context. To end, the chapter comments on the high points of this teaching experience and on some of the challenges encountered.
- Full Text:
- Date Issued: 2018
- Authors: Naidu, Samantha
- Date: 2018
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/158013 , vital:40139 , ISBN 978-3-319-90608-9
- Description: This chapter is a survey of teaching crime fiction in postcolonial South Africa. After offering a definition and historicisation of postcolonial crime fiction in general, the survey focuses on my third-year undergraduate course, ‘Sleuthing the State: South African Crime and Detective Fiction’. The survey includes a description of the curriculum content, teaching methods, forms of assessment and student evaluation. The chapter also contains theoretical discussion about the practical and ethical implications of teaching crime fiction in a turbulent and transitional socio-political context. To end, the chapter comments on the high points of this teaching experience and on some of the challenges encountered.
- Full Text:
- Date Issued: 2018
Teaching Postcolonial Crime Fiction:
- Authors: Naidu, Samantha
- Date: 2018
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/158024 , vital:40140 , ISBN 978-3-319-90608-9
- Description: This chapter is a survey of teaching crime fiction in postcolonial South Africa. After offering a definition and historicisation of postcolonial crime fiction in general, the survey focuses on my third-year undergraduate course, ‘Sleuthing the State: South African Crime and Detective Fiction’. The survey includes a description of the curriculum content, teaching methods, forms of assessment and student evaluation. The chapter also contains theoretical discussion about the practical and ethical implications of teaching crime fiction in a turbulent and transitional socio-political context. To end, the chapter comments on the high points of this teaching experience and on some of the challenges encountered.
- Full Text:
- Date Issued: 2018
- Authors: Naidu, Samantha
- Date: 2018
- Language: English
- Type: text , book
- Identifier: http://hdl.handle.net/10962/158024 , vital:40140 , ISBN 978-3-319-90608-9
- Description: This chapter is a survey of teaching crime fiction in postcolonial South Africa. After offering a definition and historicisation of postcolonial crime fiction in general, the survey focuses on my third-year undergraduate course, ‘Sleuthing the State: South African Crime and Detective Fiction’. The survey includes a description of the curriculum content, teaching methods, forms of assessment and student evaluation. The chapter also contains theoretical discussion about the practical and ethical implications of teaching crime fiction in a turbulent and transitional socio-political context. To end, the chapter comments on the high points of this teaching experience and on some of the challenges encountered.
- Full Text:
- Date Issued: 2018
‘I don’t belong nowhere really’: the figure of the London migrant in Dan Jacobson’s ‘A Long Way from London’ and Jean Rhys’s ‘Let Them Call It Jazz’
- Naidu, Samantha, Thorpe, Andrea
- Authors: Naidu, Samantha , Thorpe, Andrea
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/68422 , vital:29254 , https://doi.org/10.1080/10131752.2018.1461477
- Description: Publisher version , In this article we compare and contrast the figure of the migrant, central to Dan Jacobson’s short story ‘A Long Way from London’ ([1953] 1958. A Long Way from London and other stories. London: Weidenfeld & Nicholson), and to Jean Rhys’s short story ‘Let Them Call It Jazz’ ([1962] 1987. The Collected Stories. New York: Norton), both of which are set in London in the early to mid-twentieth century. The main argument is that these figures, as migrants in London from South Africa and the Caribbean respectively, similarly occupy a liminal space despite stark differences in class, race and gender. In both stories this liminal space is described through evocations of London as a hostile diasporic space, lacking in hospitality, and experienced by the migrant figure as a place of confinement and incarceration. Also, both stories utilize the technique of silence or lacunae when it comes to issues of specific discrimination and abuse, such as racism or sexual exploitation. For the purposes of comparison, the character Manwera from ‘A Long Way from London’ and, Selina, the protagonist of ‘Let Them Call It Jazz’, are selected for analysis. Particularly, their respective responses (Manwera’s pride and dignity, and Selina’s recovery after a breakdown, and her musical talent) to the exigencies of migration are suggestive of ‘adaptive strength’ (Steve Vertovec and Robin Cohen [1999] 2001. Migration, Diasporas and Transnationalism. Cheltenham and Northampton MA: Elgar Reference Collection, xviii), a common feature in transnational literature which attempts to celebrate liminality and multiplicity as key characteristics of a transnational subjectivity. In addition, the protagonist of ‘A Long Way from London’, Arthur, offers a contrast to Manwera and Selina, not only because of race and class, but because he is depicted as having adapted to and assimilated into British culture, while being strangely detached from and ambivalent about both homeland and diasporic home. Varying forms of adaptive strength are portrayed in both stories, but they close with intimations of bleak futures for the migrant figures. The essay thus concludes with the observation that in these two stories, the figure of the London migrant is rendered as facing further grave challenges, and that all three figures ‘belong nowhere’ (Rhys [1962] 1987 Rhys, Jean. [1962] 1987. The Collected Stories. New York: Norton. [Google Scholar] , 175).
- Full Text: false
- Date Issued: 2018
- Authors: Naidu, Samantha , Thorpe, Andrea
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/68422 , vital:29254 , https://doi.org/10.1080/10131752.2018.1461477
- Description: Publisher version , In this article we compare and contrast the figure of the migrant, central to Dan Jacobson’s short story ‘A Long Way from London’ ([1953] 1958. A Long Way from London and other stories. London: Weidenfeld & Nicholson), and to Jean Rhys’s short story ‘Let Them Call It Jazz’ ([1962] 1987. The Collected Stories. New York: Norton), both of which are set in London in the early to mid-twentieth century. The main argument is that these figures, as migrants in London from South Africa and the Caribbean respectively, similarly occupy a liminal space despite stark differences in class, race and gender. In both stories this liminal space is described through evocations of London as a hostile diasporic space, lacking in hospitality, and experienced by the migrant figure as a place of confinement and incarceration. Also, both stories utilize the technique of silence or lacunae when it comes to issues of specific discrimination and abuse, such as racism or sexual exploitation. For the purposes of comparison, the character Manwera from ‘A Long Way from London’ and, Selina, the protagonist of ‘Let Them Call It Jazz’, are selected for analysis. Particularly, their respective responses (Manwera’s pride and dignity, and Selina’s recovery after a breakdown, and her musical talent) to the exigencies of migration are suggestive of ‘adaptive strength’ (Steve Vertovec and Robin Cohen [1999] 2001. Migration, Diasporas and Transnationalism. Cheltenham and Northampton MA: Elgar Reference Collection, xviii), a common feature in transnational literature which attempts to celebrate liminality and multiplicity as key characteristics of a transnational subjectivity. In addition, the protagonist of ‘A Long Way from London’, Arthur, offers a contrast to Manwera and Selina, not only because of race and class, but because he is depicted as having adapted to and assimilated into British culture, while being strangely detached from and ambivalent about both homeland and diasporic home. Varying forms of adaptive strength are portrayed in both stories, but they close with intimations of bleak futures for the migrant figures. The essay thus concludes with the observation that in these two stories, the figure of the London migrant is rendered as facing further grave challenges, and that all three figures ‘belong nowhere’ (Rhys [1962] 1987 Rhys, Jean. [1962] 1987. The Collected Stories. New York: Norton. [Google Scholar] , 175).
- Full Text: false
- Date Issued: 2018
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